Good lineup at Gelf’s Varsity Letters Speaking Serious tomorrow night in BK: Howard Byrant, Tommy Craggs and Dave Jamieson.

Used to be that no baseball season felt complete until Roger Angell’s piece appeared in the New Yorker. Mr. Angell just turned 90 but he’s still writing. However, I don’t know if we’ll get the usual piece, as Angell was blogging for the New Yorker during the post-season. My favorite bit came his final post–because he dug up a quote from one of his old pieces that I’ve been looking for, unsuccessfully, for years now:

Players have little awareness of fan angst, but I’ve not forgotten an amazing late-summer conversation I had with the iconic, forty-year-old Willie McCovey at Candlestick Park, in 1978, at a time when his contending Giants had just dropped five out of six games and were beginning a customary September slide toward oblivion.

“The fans sitting up there are helpless,” he said. “They can’t pick up a bat and come down and do something. Their only involvement is in how well you do. If you strike out or mess up out there, they feel they’ve done something wrong. You’re all they’ve got. The professional athlete knows there’s always another game or another year coming up. If he loses he swallows that bitter pill and comes back. It’s much harder for the fans.”

Sad news from the world of basketball: Maurice Lucas is dead.

Charles Pierce remembers Lucas in the Boston Globe:

Thirty-nine years ago this fall, I moved into the 11th floor of a 12-story dormitory at the corner of 16th Street and Wisconsin Avenue in Milwaukee, Wisconsin. I was a freshman at Marquette University. (The dorm, McCormick Hall, is round and shaped like a beer can, which is remarkably appropriate in more than the metaphorical sense, and the building has been rumored for almost 40 years to be sinking into middle Earth.) Not long after I moved in, I found myself intrigued by the music coming out from under the door of the room next to mine — music which I now know to have been “Eurydice,” the closing track from Weather Report’s astounding debut album. (Mmmmmm. Wayne Shorter!) As I was listening, an extremely large man came out of the room and introduced himself. “Pretty cool, isn’t it?’ he said.

And that was how I met Maurice Lucas.

For the next couple of years, we talked about music, at least as much as Luke talked to anyone, him being what you call your campus celebrity and all during the glory days of Warrior basketball and the high-sun period of Al McGuire Era. Whatever I know about any jazz recorded after the big band records to which my father listened — Mmmmmmm. Basie! — I learned from Luke, with whom I don’t believe I ever exchanged four words about basketball.

Later that same year, when I was practicing with the fencing team in the basement of the old gymnasium while the basketball team practiced upstairs, Luke came out of the shower wearing only a towel. “Hey,” he said, “show me how to do that.” I handed him a foil and we squared off, I in my full regalia with a mask and Luke in a towel. I touched him once, lightly, in the ribs. He slapped my blade out of my hand and about 20 feet back down the hallway, hitched up his towel, and went off chuckling.

Lucas was one of the memorable characters on the Blazers’ championship team in the ’70s. I remember him later in his career–he was a professional tough guy and a fine player.

If you’ve never read David Halberstam’s “The Breaks of the Game,” you should. There’s some good stuff on Lucas in there. Did I mention that he was tough?

Before the NBA, Lucas played with the infamous Marvin “Bad News” Barnes for the St. Louis Spirits in the ABA. Spirits announcer Bob Costas told Terry Pluto in Loose Balls:

It was interesting to watch Lucas develop. Early in his rookie year, he was coming off the bench. One night the Spirits were playing Kentucky in Freedom Hall and Lucas was trading elbows with Artis Gilmore. At 7-foot-2 and 240 pounds, Gilmore just towered over Maurice. Lucas’s only chance was to beat Gilmore to a spot on the floor and then try to hold off Artis. Despite his enormous size and strength, Gilmore was never known as a ferocious player and he seldom was in a fight. But all of a sudden, Artis just got sick of Lucas’s bodying him and you could see that the big guy was really hot. Gilmore took a swipe at Lucas and missed. Lucas put up his fists, but he was backpedaling like any sane man would when confronted by Gilmore. It was almost slow motion–Gilmore would take a step, then Lucas would take a step back. It was obvious that Lucas didn’t want to fight and was trying to figure out where he could go. Finally, he was trapped in the corner; he had run out of court. He didn’t know what else to do, so he planted his feet and threw this tremendous punch at Gilmore, and it caught Artis square on the jaw. It was a frightening sight. Artis hit the deck. Lucas was going crazy. Now he really wanted a piece of Artis. Guys were holding Lucas back and Artis was still down. For whatever reason, from that point on Lucas developed into a helluva player.

Rest in Peace, Mr. Lucas.

There is a new collection of love letters from famed Chicago columnist Mike Royko to his wife.

Steve Lopez reviews the book for the L.A. Times:

The job of writing newspaper columns doesn’t come with instructions, just deadlines that fly at you in your sleep. I used to read Royko and Jimmy Breslin and try to break down how they did what they did, but I couldn’t crack the code. How could they make a word stand up on the page, or a thought linger? How could they say so much with lines so spare?

They knew the places they wrote about, and that was part of it. But only years later would I learn their real secret: They knew who they were, and they knew why they wrote.

Royko was a man’s man, as they say, a guy who loved baseball and bars, believed in his city, backhanded its fools and celebrated its anonymous heroes, always with wit and tough-minded certainty.

…It’s an interesting thing, the way a famous city columnist — whose very public job was to make readers feel like they knew him — kept his family life private. Maybe Royko understood the better story was out there in the neighborhoods and in the hopes and fears of others. When you fall back on family for material, you sacrifice them to your selfish needs and cut off your own escape from the public glare.

Or maybe there’s a darker explanation as to why Royko did not write about the woman who had so consumed him as a young man. David Royko suggests his dad got caught up in the superstardom that came with decades of writing five columns a week in a city he owned, and his marriage to Carol Duckman was not “a rosy extension” of his heartfelt letters to her.

It could be that Royko discovered he adored nothing more than the pressure of filling empty space, on deadline, to the cheers of a city that adored him. Those were love letters, too, all those thousands of columns, the brilliant ones and the forgotten ones too.

The job is a thrill, but a wise man once advised me not to overdo it.

Roger Ebert gives us another loving tribute to his old friend, the great take-out writer, Bill Nack. If you’ve never read Nack’s book, “Secretariat: The Making of a Champion”, do yourself a favor–it’s a classic.

Two two chums got together recently and Nack told Ebert stories about perhaps the greatest champion of them all:

Here is Nack’s wonderful story, “Pure Heart,” on the death of Secretariat (Sports Illustrated, 1990):

Just before noon the horse was led haltingly into a van next to the stallion barn, and there a concentrated barbiturate was injected into his jugular. Forty-five seconds later there was a crash as the stallion collapsed. His body was trucked immediately to Lexington, Kentucky, where Dr. Thomas Swerczek, a professor of veterinary science at the University of Kentucky, performed the necropsy. All of the horse’s vital organs were normal in size except for the heart.

“We were all shocked,” Swerczek said. “I’ve seen and done thousands of autopsies on horses, and nothing I’d ever seen compared to it. The heart of the average horse weighs about nine pounds. This was almost twice the average size, and a third larger than any equine heart I’d ever seen. And it wasn’t pathologically enlarged. All the chambers and the valves were normal. It was just larger. I think it told us why he was able to do what he did.”

Lasting Yankee Stadium Memories is out. Check, check it out.

Meanwhile, dig Richard Ben Cramer’s essay from the book. It’s priceless:

By Richard Ben Cramer

My grandfather took me to my first game at The Stadium. Not baseball: the Cleveland Browns against the New York Football Giants. I lived in Rochester and, as a consequence, I was a Browns fan. As to whether this was right and proper, I thought not at all. I knew nothing about sports marketing and could not have cared less if small-market Rochester had been gerrymandered into the Browns’ TV-turf as a sop to get the Modells’ vote for the television package. I was 14, and I loved Jim Brown.

By modern standards, I was still a casual fan. Football was more fun to play than to watch, and I lived in a neighborhood with wall-to-wall kids. There was a backyard game every Sunday, so I probably missed more Browns’ games than I saw. But even I knew that this would be a big game: December football; the Browns had to win it to get to the championship. It was also a revenge game: the Giants had beaten the Browns two-straight (the final game of the season and a special playoff) to get to the ‘58 championship, said to be the greatest ever played. I knew the Browns would have beaten the Colts, and, dutifully, I reviled the Giants.

I was stunned by the ballpark. My notion of a stadium was Red Wing Stadium, where the Rochester AAA ballteam played. But this was something else—vast and powerful, filled with sixty thousand fans, and the tangy scent of smoke mixed with alcohol (which I wouldn’t smell again till I could go into bars), and noise like I’d never heard in my life. I couldn’t even describe the noise—a wailing screech?—ebbing and then rising as loud as a jet plane. I fell silent. I felt tiny.

But the Browns gave me courage. As I remember, the game was tight, with the Browns clinging to a nervous lead by the half—at which point some kind of miracle transpired. Suddenly, the Browns could do no wrong, and for the Giants, nothing went right. Title was intercepted for a score. Jim Brown caught a pass and waltzed into the end zone. The Giants fumbled, the Browns scored…and again…and again…and I was whooping and cutting up just as loud as I could, just like the (suddenly silent) New York fans…or so I imagined—it only showed how little I understood.

When the Browns’ back-ups scored again, and their score climbed to more than 50 points, I asked my grandfather (rather too loudly) if that big Longines scoreboard could show three digits for the visiting team. A couple of New York fans turned around and gave me the look that was my real introduction to Yankee Stadium. I had known for about the last quarter that they probably wanted me to shut up. But their look now didn’t say, “shut up.” What it said was they wanted to kill me. What is said was this was the worst moment of their lives and if I didn’t shut up they might forget how unutterably sad they were, and have another drink, and kill me for sure.

I shut up. I feared them. But I also respected them. No one I knew felt that way about their team. And they taught me something important, which was the dire seriousness of New York sports—which is what the old Stadium was about.

Amen.

From a John Lardner column for Newsweek, “The World’s Richest Problem Child”:

The St. Louis Browns have hired a professional pyschologist for the spring training season to currycomb their inferiority complex. The Boston Red Sox, on the other hand, have chosen a simpler way of treating their own pyschological problem, who goes by the name of Theodore S. Williams.

I am taking the word of certain experts for it that Williams has, or is, a psychological problem. Around the American League the pitchers tell you that if anything is wrong with Williams, they can only pray that it’s not catching. Give three or four other batsmen Theodore’s disease and the pitching profession will be totally wrecked.

However, as I say, many students of human mentality (most of them play the same instrument that I do, the typewriter, and have learned psychology by close observation of the bartender at the water hole around the corner from the office) have been saying for years that Mr. Williams has a complex. They watch him with honest pity as he gropes his way through the shadowland between .340 and .406. They agree with a sigh that he is the strongest left-hand-hitting neurotic they have ever seen.

A few weeks ago Thomas A. Yawkey, the Red Sox owner, took cognizance of Ted’s condition and tried the cure I spoke of above. It is a form of shock treatment. The subject is pelted softly but firmly with handfuls of green banknotes in large denominations. The size of the dose varies with the individual. Mr. Yawkey might still be showering his patient with engravings of General Grant had not Williams, rising from the couch when the total reached $125,000, remarked, by way of small talk, that he was satisfied.

“John grew up in the shadow of a father who was a great writer,” said A. J. Liebling. “This is a handicap shared by only an infinitesimal portion of any given generation, but it did not intimidate him.”

When John Lardner was ten-years old, he wrote a short verse that appeared in a F.P.A column:

Babe Ruth and Jack Dempsey,
Both sultans of the swat.
One hits where other people are,
The other where they’re not.

John Lardner was born in Chicago but raised mostly on the east coast. He went to the Phillips Academy in Andover (his three brothers would follow), spent a year at Harvard and another at the Sorbonne, before he returned to New York and got a job at the New York Herald Tribune in 1931. He was nineteen-years-old. His father, Ring, who was already ill with the tuberculosis and heart diesee that would kill him a few years later, sent a note to Stanley Walker, a Texan who’d made the Tribune into the best writer’s paper in New York.

“You will find him a little reticent at times, but personally I never felt this was a handicap.” Walker later said that John “came close to being the perfect all-around journalist.”

John worked at the Tribune until 1933, the year his father died. The two men were close in Ring’s final years and the old man was proud of his son’s early achievements. “We are all swollen up like my ankles,” Ring wrote in a letter to his nephew, Richard Tobin. John was offered a syndicated sports column when he was twenty-one for the North American Newspaper Alliance. Carried locally by the N.Y. Post, Lardner wrote about sports, and then the war, for NANA until 1948.

(more…)

The New Yorker’s recent compilation, The Only Game in Town: Sportswriting from the New Yorker, is a fine and handsome collection but it is does not contain a single piece by John Lardner, which begs the question: Is Lardner the most neglected great sports writer of all-time?

Sure, Jimmy Cannon is  overlooked these days and he was a legend during his time; Joe H. Palmer was on his way to a PHD in English Literature when he became a full-time chronicler of horse racing–which he did as well as anyone ever has–but he died young and his name is lost; and Lenny Shecter was a funny, irascible talent, the patron saint of cynicism and snarki, and he’s sadly known as just the “co-writer” of “Ball Four.” Shecter also died young.

Over at SI.com, I’ve got an appreciation of a new collection of Lardner’s best sportswriting:

John Lardner was painting a prose portrait of a legendary con man when he wrote: “On a small scale, Titanic Thompson is an American legend. I say on a small scale, because an overpowering majority of the public has never heard of him. That is the way Titanic likes it. He is a professional gambler. He has sometimes been called the gambler’s gambler.”

Lardner might well have been writing about himself, although calling him a writer’s writer is too limiting, not to mention entirely inadequate. In a career that spanned three decades, the ’30s through the ’50s, he wrote for The New Yorker about everything from movies and TV, to the invasions of Normandy and Iwo Jima. But it was as a sports columnist for Newsweek that Lardner left his deepest footprint, and he underscored it with long, brilliant pieces for magazines like True and Sport. His trademark, as Stan Isaacs, the former Newsday sports columnist recently pointed out, was a “droll touch — precise, detached.”

“Time has a way of dimming the memory and achievements of writers who wrote, essentially, for the moment, as writers writing for journals must do,” Ira Berkow, the longtime columnist of the New York Times, told me recently. “But the best shouldn’t be lost in the haze of history and John Lardner was a brilliant writer — which means, in my view, that he was insightful, irreverent, wry and a master of English prose.”

Al Silverman, who ran Sport magazine in the Sixties, edited Lardner’s once-a-month sports column in True for a year-and-a-half in the early ’50s. “We never did meet but talked over the phone about his piece every month,” said Silverman. “I don’t remember ever saying, ‘You made a little grammatical error here, John.’ Always it was me saying, ‘Another great one, John.’ And they all were wonderful.”

In the epilogue to a posthumous collection “The World of John Lardner” (1961), his friend Roger Kahn wrote, “Although most perceptive sports writers accepted him as matchless, sports writing was not the craft of John Lardner. Nor was it profile writing, nor column writing. After the painstaking business of reportage, his craft was purely writing: writing the English sentence, fusing sound and meaning, matching the precision of the word with the rhythm of the phrase. It is a pursuit which is unfailing demanding, and Lardner met it with unfailing mastery.”

Do yourself a favor and pick up the new Lardner collection. You won’t be sorry.

[Drawings by Walt Kelly]

The Daily News has two excerpts from Jane Leavy’s new Mantle bio: here and here.

Must-read for Yankee fans.

Since we’s talkin literature and all that…Check this out, via Roger Ebert: Bill Nack recites the ending of “The Great Gatsby”:

Check out Susan Bell’s essential, “The Artful Edit” for a fascinating look at the relationship between F. Scott Fitzgerald and his editor, Maxwell Perkins. If you don’t have Bell’s helpful volume, please consider it. It sits on my shelf next to “The Elements of Style,” and has provided guidance and inspiration for me time and time again.

From the New York Magazine archives, here’s a 1969 piece on Joe Namath by Jimmy Breslin:

In the world of Joe Willie Namath, location and time really don’t matter. They are trying to call this immensely likeable 25-year-old by the name of Broadway Joe. But Broadway as a street has been a busted-out whorehouse with orange juice stands for as long as I can recall, and now, as an expression, it is tired and represents nothing to me. And it certainly represents nothing to Joe Willie Namath’s people. His people are on First and Second Avenues, where young girls spill out of the buildings and into the bars crowded with guys and the world is made of long hair and tape cartridges and swirling color and military overcoats and the girls go home with guys or the guys go home with girls and nobody is too worried about any of it because life moves, it doesn’t stand still and whisper about what happened last night. It is out of these bars and apartment buildings and the life of them that Joe Willie Namath comes. He comes with a Scotch in his hand at night and a football in the daytime and last season he gave New York the only lift the city has had in so many years it is hard to think of a comparison.

When you live in fires and funerals and strikes and rats and crowds and people screaming in the night, sports is the only thing that makes any sense. And there is only one sport anymore that can change the tone of a city and there is only one player who can do it. His name is Joe Willie Namath and when he beat the Baltimore Colts he gave New York the kind of light, meaningless, dippy and lovely few days we had all but forgotten. Once, Babe Ruth used to be able to do it for New York, I guess. Don’t try to tell Namath’s people on First Avenue about Babe Ruth because they don’t even know the name. In fact, with the young, you can forget all of baseball. The sport is gone. But if you ever have seen Ruth, and then you see Namath, you know there is very little difference. I saw Ruth once when he came off the golf course and walked into the bar at the old Bayside course in Queens. He was saying how f’n hot it was and how f’n thirsty he was and he ordered a Tom Collins and the bartender made it in a mixing glass full of chopped ice and then handed the mixing glass to Ruth and the Babe said that was fine, kid, and he opened his mouth and brought up the mixing glass and there went everything. In one shot, he swallowed the mixing glass, ice chunks and everything else. He slapped the mixing glass down and said, give me another one of these f’n things, kid. I still never have seen anybody who could drink like that. After that day, I believed all the stories they told about Ruth.

It is the same thing when you stand at the bar with Joe Namath.

“The Last Boy,” Jane Leavy’s long-awaited biography of Mickey Mantle hits bookstores tomorrow. Last week, SI ran an excerpt that is sure to whet your appetite.

Dig:

In the spring of 1957 Mickey Mantle was the king of New York. He had the Triple Crown to prove it, having become only the 12th player in history to earn baseball’s gaudiest jewel. In 1956 he had finally fulfilled the promise of his promise, batting .353, with 52 homers and 130 RBIs. Everybody loved Mickey. “Mickey who?” the singer Teresa Brewer chirped. “The fella with the celebrated swing.”

Men wanted to be him. Women wanted to be with him. His dominion was vast, and his subjects were ardent. (One fan asked Lenox Hill Hospital for Mantle’s tonsils, which doctors there had removed following the 1956 season.) Mantle accepted his due with that great drawbridge of a smile that yanked the right-hand corner of his mouth upward to reveal a set of all-American choppers. “When he laughed, he just laughed all over,” his teammate Jerry Lumpe said.

Why wouldn’t he? Wherever Mantle went in the great metropolis—Danny’s Hideaway, the Latin Quarter, the “21” Club, the Stork Club, El Morocco, Toots Shor’s—his preferred drink was waiting when he walked through the door. Reporters waited at his locker for monosyllabic bons mots. Boys clustered by the players’ gate, hoping to touch him. It wasn’t enough to gawk at his impossibly broad shoulders and his fire-hydrant neck. They wanted tactile reassurance that he was for real. They scratched his arms, his face and the finish of every car he rode in. A burly security detail became mandatory.

Women—none more beautiful than he was—waited in hotel lobbies. Arlene Howard, the wife of Yankees catcher Elston Howard, says that when she met Mantle for the first time, she thought, My God, who is that? Just the physical body, I’d never seen anything like that. There was something about his presence that was just absolutely stunning.

“He was adorable,” said Lucille McDougald, the wife of Yankees infielder Gil McDougald. “We used to joke about it: Who wouldn’t hop into bed with him, given the opportunity, just for the fun of it?”

Joe Pos on The Great Mariano:

There’s nothing left really to say about his greatness. We all know the story. He throws that cutter precisely where he wants, it turns left just as it gets to the plate, and there has never been anyone quite like him.

Still, watching him break four bats on Wednesday night — I’m pretty sure he broke Denard Span’s bat when getting the last out of the eighth, then broke Orlando Hudson’s bat, Joe Mauer’s bat and Jim Thome’s bat in the ninth — was another awe-inspiring reminder. He clearly does not throw as hard as he once did. Teams have broken him down on video for more than a decade. We all KNOW exactly what he’s going to do. And still, major league hitters come up, they swing at his cutter, the ball breaks in two inches more than they expected, they break their bat. In Las Vegas, I’ve seen David Copperfield make a car appear out of thin air, and I’ve seen Lance Burton duel someone in a costume who turns out to be Lance Burton. I’m sure I could watch those tricks 50 times and never figure out how they are done. I’m sure I could watch those tricks 100 times and never figure out how they’re done.

But Mariano Rivera has pitched 1,150 innings in the big leagues. He has pitched another 135 or so postseason innings. He has faced almost 900 different big league hitters. And this same trick, precisely this same trick, works almost every time. The Twins may or may not be good enough to come back in this series. They will obviously need to beat up on the Yankees’ second-string starting pitchers, and try to hold their own against this relentless Yankees offense. What they do know is this: They ain’t going to win it in the ninth inning. Mariano Rivera turns 41 next month. He is aging just like the rest of us. But for one more year, it sure looks like nobody is going to beat the Yankees in the ninth inning.

I’m going to enjoy watching the Rays and Rangers series. Consider this a game thread.

Speaking of Texas, here’s a long piece on Nolan Ryan and the Rangers by Jonathan Mahler for the New York Times Magazine:

In our conversations, Ryan lamented the fate of the modern pitcher, who has had to contend not only with performance-enhanced hitters but with certain changes to the rules of the game. During his playing days, Ryan relied heavily on intimidation; he is particularly annoyed by the empowering of umpires to eject pitchers from games for throwing at batters. “You take an aggressiveness out of the pitchers and put it into the hitters,” he told me in his office, where a pair of large oil paintings of cowboys on the Texas frontier hang above his desk.

Initially drafted in 1965 by the Mets, Ryan won his only World Series ring with New York but still couldn’t wait to leave. After a stint with the Angels, he became a free agent in 1979 and promptly returned home to Texas, pitching nine years in Houston before finishing out his career with the Rangers.

Ryan retired as one of the greatest pitchers ever, but the subsequent ascendance of statistical analysis in baseball has not been especially kind to his legend: the growing appreciation for walks as an offensive weapon has knocked him down more than a few pegs in the pitching pantheon. What remains remarkable about Ryan, though, is not simply his longevity — even in his 40s, his fastball approached 100 miles an hour — but his durability. At age 42, he once threw 166 pitches in a single game.

Ryan was never known as a student of the art of pitching. He was a power pitcher, blessed with an absurdly strong, seemingly indestructible arm. But he now has firmly held convictions about how to handle pitchers, and they stand in direct opposition to baseball’s prevailing orthodoxy — what he calls “the babying” of modern-day pitchers. “Pitch counts drive me nuts,” Ryan said. “You gonna put Steve Carlton or Tom Seaver or Bob Gibson on a pitch limit?”

“The Silent Season of a Hero,” a collection of Gay Talese’s sportswriting, got a rave review in the Times over the weekend. Gordon Marino writes:

Early on, Talese studied fiction with the strange intention of writing nonfiction, of elevating real life to literary life. Taking note of his way of setting up scenes, his oddly angled story lines and realistic dialogue, Tom Wolfe credited Talese with stirring a revolution in reporting that Wolfe christened the “new journalism.” This pronouncement was neither fiction nor hyperbole. Gay Talese’s outré method of framing and developing his “factual short stories” (as Rosenwald describes them) was as groundbreaking as it is still arresting. As this marvel of an anthology makes manifest, Talese transformed sportswriting into literature that is both serious and delightful.

Talese wasn’t the first writer to apply novelist techniques to non-fiction–WC Heinz and John Lardner had been doing it for years. In a recent interview for the Paris Review, Talese explained:

My first job was on the sports desk, but I didn’t want to write about sporting events. I wanted to write about people. I wrote about a losing boxer, a horse trainer, and the guy in the boxing ring who rang the bell between rounds. I was interested in fiction. I wanted to write like Fitzgerald. I collected his work—his short stories and journals. “Winter Dreams” is my favorite story of all time. The good nonfiction writers were writing about famous people, or topical people, or public people. No one was writing about unknown people. I knew I did not want to be on the front page. On the front page you’re stuck with the news. The news dominates you. I wanted to dominate the story. I wanted to pick subjects that were not the ordinary assignment editor’s idea of a story. My idea was to use some of the techniques of a fiction writer: scene setting, dialogue, and even interior monologue, if you knew your people well enough. I was writing short stories, and there were not many people on the Times who were doing that. Once, at an NYU baseball game, I overheard a conversation between a young couple who were having a lovers’ quarrel. I wrote the dialogue and I told the story of the game through what they were watching and what they were saying. At the St. Patrick’s Day parade, I wrote about the last person in the procession, a little guy who was carrying a tuba, and behind him came the sanitation trucks. I followed the parade from the vantage point of this tuba player.

…I could not contain myself within the twelve-hundred-word limit of daily journalism. Wherever I was, I thought that there were stories that other people weren’t telling. When I was going into professional athletes’ locker rooms, for instance, I would just listen to the chatter and look at the bodies of these men who had been in locker rooms with other men since they were little boys. There’d be other sports writers there, and they’d be asking the athletes questions about their performance in that night’s game, but I thought, No, there’s a different story here. These men are fascinating not as performers but in the way in which they mingle together. They’re freer with each other than homosexual men in a bathhouse. These other reporters didn’t even see the story, they just saw their job. Yet because it was a daily newspaper I was always being pulled away from these stories. I couldn’t do them at any real depth. That was really why I couldn’t do the job anymore.

At the same time, in the mid-sixties, Tom Wolfe and Jimmy Breslin were having fun at the Herald Tribune. They were able to write what they wanted to write and I wished I had that kind of freedom. I was getting a lot of freedom by the standards of the Times, but not compared to them. I wanted more room and I wanted to go anywhere I wanted.

Talese wrote memorably about Floyd Patterson and his Esquire feature on Joe DiMaggio remains a classic.

One of the first grown-up books I ever read as a kid was “Mr. October,” by Maury Allen. I was ten-years-old when it was published in 1981. I already had “The Reggie Jackson Scrapbook” but this was a biography, all words and no pictures (although each chapter featured a picture of Reggie at the plate ). I wasn’t a big reader but I liked having my own books and often received baseball books for my birthday. I knew about the two Rogers–Angell and Kahn–from my dad’s book collection. But when I picked up “The Boys of Summer” and tried to read it I got bored quickly, same for “The Summer Game” and “Five Innings” which had impossibly long paragraphs that seemed to go on forever.

Maury Allen I could read. He told a story. The words didn’t scare me away. So I read “Mr. October” over and again. And I got more of Allen’s books, notably “Baseball’s 100,” and always made the distinction between Maury Allen and Murray Chass–who covered the Yankees for the New York Times. Maury Allen was my first favorite sports writer. And although I knew that he wasn’t in the best of health, I was deeply sadened to hear that he died yesterday morning.

Here is the obit from the New York Times.

Allen had been around New York covering sports since the Toots Shor days. He wrote for the Post from 1961-88. In the Sixties, Allen was at the Post with Leonard Shecter, Milton Gross, Leonard Koppett, Larry Merchant and Vic Ziegel, to name just a few. He covered the Yanks and looked as if he’d be right at home sitting at Oscar Madison’s poker table.

Allen moved to the Gannett chain after leaving the Post and most recently contributed to The Columnists (check out his archive). He also wrote close to 40 books. I was thrilled that he was a part of the Lasting Yankee Stadium Memories book.

Maury Allen will be missed but not forgotten.

Joe Pos on Vin Scully:

What Vincent Edward Scully first came to Los Angeles to broadcast Dodgers baseball games in 1958, he worried because he could not find the essence of the city. The center. The heart. He was 30 years old, and he had some clear ideas about what it took to call a baseball game. He thought it was important that the hometown baseball announcer know the hometown. So, he kept looking for this PLACE. That’s was how his mind worked then. There had to be a place. Back in New York, there was always a place.

Vin Scully heard life in New York City rhythms then — well, he had grown up in New York. He went to school in New York. He had worked with Red Barber in New York. And in New York there’s always a place, doesn’t matter if it’s Brooklyn or the Bronx, Harlem or Greenwich Village, Manhattan or Queens. There’s a place you go, where people gather, where decisions are made, where the energy pulses, where everything starts.

“In New York, for me, it was Toots Shor’s,” he says. That was the restaurant, of course, there on 51st street between 5th and 6th Avenues but closer to 6th. That was where things were always going on, where Vin could feel the city’s vibrations, its power. He might see Joe DiMaggio sitting with Marilyn Monroe. He might catch Frank Sinatra talking a little boxing. He might catch a glimpse or Ernest Hemingway or see Jackie Gleason hold court or see Judy Garland sitting in a corner. More than anything, though, he might hear what was happening in his town, what mattered, and Vin Scullly needed to know these things. He felt sure they made him a better baseball announcer.

Check out this lovely tribute to the late Paul Hemphill by Richard Hyatt:

I ended up at the Atlanta Constitution writing sports. A colleague told me about a former pitcher for the town baseball team in LaGrange. He had made Ripley’s Believe Or Not by pitching both games of a doubleheader — tossing a no-hitter in one game and a one-hitter in the other.

By the time I visited him in the old mill village in LaGrange, Scoopie Chappell’s baseball exploits were relegated to aging scrapbooks and stories he told at the beer joint down the hill. I wrote a feature story about him for the Sunday Journal-Constitution.

The article got me a phone call from Paul Hemphill. He wanted Scoopie’s phone number and directions to his house. Hemphill was researching a book about minor league baseball and he figured Scoopie was someone he wanted to visit.

The non-fiction book never materialized but Long Gone did. To me it is the quintessential baseball novel and equally good as an HBO film. It came out in 1987 and you’ll find Bull Durham — as good as it is — is a ripoff of Hemphill’s book.

Scoopie morphed into Stud Cantrell, played on the screen by CSI’s William Petersen. The character of Stud is as good as you’ll find in any work of fiction. In the movie, there’s even a speaking role for Teller — the small mute half of Penn & Teller.

If you haven’t read the book, do. If you haven’t seen the movie, find it.

Amen. William Petersen’s Stud Cantrell is closer to Paul Newman in “Slap Shot” than it is to Costner in “Bull Durham.” The ending of the movie is corny but the rest of it sings. And Hemphill’s novel is a beaut.

Nice piece by Franz Lidz on form SI managing editor, Gil Rogin, in the New York Observer.

Rogin doesn’t pull any punches:

Unawed by reputation, Mr. Rogin assesses sportswriters with cool objectivity. “Frank Deford was very good, but not as great as he thought he was,” he said of the 1999 National Magazine Award winner, a fixture on NPR. “You’d ask for 3,000 words and get 5,000, all of them, according to Frank, ‘imperishable.’ In profiles, he’d pick out a psychological trait and use it like a magic brick to build a house. His stories were well thought out, but artificial.”

Mr. Rogin’s favorite sportswriter was George Plimpton, whose breezy copy required no editing. He also enjoyed Jimmy Breslin. He once bellied up to a bar with the tabloid fabulist after a prizefight in Las Vegas, and Mr. Breslin showed him his account of the match. Mr. Rogin scanned the first paragraph and said, “Jimmy, this never happened.” Mr. Breslin said nothing.

Mr. Rogin scanned the second graph and said, “Jimmy, this never happened, either.”

Mr. Breslin stared at him wearily and said, “Yeah, but how does it read?”